2. The image of Katerina in the play “The Thunderstorm”
Katerina is a lonely young woman who lacks human participation, sympathy, and love. The need for this draws her to Boris. She sees that outwardly he does not look like other residents of the city of Kalinov, and, not being able to recognize him inner essence, considers him a man from another world. In her imagination, Boris seems to be a handsome prince who will take her from the “dark kingdom” to fairy world, existing in her dreams.
In terms of character and interests, Katerina stands out sharply from her environment. Katerina's fate, unfortunately, is bright and typical example the fates of thousands of Russian women of that time. Katerina is a young woman, the wife of the merchant son Tikhon Kabanov. She recently left her home and moved into her husband’s house, where she lives with her mother-in-law Kabanova, who is the sovereign mistress. Katerina has no rights in the family; she is not even free to control herself. With warmth and love, she remembers her parents' home and her girlhood life. There she lived at ease, surrounded by the affection and care of her mother. The religious upbringing she received in the family developed in her impressionability, daydreaming, belief in the afterlife and retribution for man's sins.
Katerina found herself in completely different conditions in her husband’s house. At every step she felt dependent on her mother-in-law, endured humiliation and insults. From Tikhon she does not meet any support, much less understanding, since he himself is under the power of Kabanikha. Out of her kindness, Katerina is ready to treat Kabanikha as her own mother. ". But sincere feelings Katerina does not find support from either Kabanikha or Tikhon.
Life in such an environment changed Katerina's character. Katerina’s sincerity and truthfulness collide in Kabanikha’s house with lies, hypocrisy, hypocrisy, and rudeness. When love for Boris is born in Katerina, it seems like a crime to her, and she struggles with the feeling that washes over her. Katerina's truthfulness and sincerity make her suffer so much that she finally has to repent to her husband. Katerina's sincerity and truthfulness are incompatible with the life of the “dark kingdom”. All this was the cause of Katerina’s tragedy.
"Katerina's public repentance shows the depth of her suffering, moral greatness, and determination. But after repentance, her situation became unbearable. Her husband does not understand her, Boris is weak-willed and does not come to her aid. The situation has become hopeless - Katerina is dying. It is not Katerina's fault one specific person. Her death is the result of the incompatibility of morality and the way of life in which she was forced to exist. The image of Katerina was of great importance for Ostrovsky’s contemporaries and for subsequent generations. educational value. He called for a fight against all forms of despotism and oppression human personality. This is an expression of the growing protest of the masses against all types of slavery.
Katerina, sad and cheerful, compliant and obstinate, dreamy, depressed and proud. Such different mental states are explained by the naturalness of each mental movement of this simultaneously restrained and impetuous nature, the strength of which lies in the ability to always be itself. Katerina remained true to herself, that is, she could not change the very essence of her character.
I think that the most important character trait of Katerina is honesty with herself, her husband, and the world around her; it is her unwillingness to live a lie. She does not want and cannot be cunning, pretend, lie, hide. This is confirmed by the scene of Katerina’s confession of treason. It was not the thunderstorm, not the frightening prophecy of the crazy old woman, not the fear of hell that prompted the heroine to tell the truth. “My whole heart was exploding! I can’t stand it anymore!” - this is how she began her confession. For her honest and integral nature, the false position in which she found herself is unbearable. Living just to live is not for her. To live means to be yourself. Its most precious value is personal freedom, freedom of the soul.
With such a character, Katerina, after betraying her husband, could not stay in his house, return to a monotonous and dreary life, endure constant reproaches and “moral teachings” from Kabanikha, or lose freedom. But all patience comes to an end. It is difficult for Katerina to be in a place where she is not understood, her human dignity is humiliated and insulted, her feelings and desires are ignored. Before her death, she says: “It’s all the same whether you go home or go to the grave... It’s better in the grave...” It’s not death that she desires, but life that is unbearable.
Katerina is a deeply religious and God-fearing person. Since, according to the Christian religion, suicide is a great sin, by deliberately committing it, she showed not weakness, but strength of character. Her death is a challenge" dark force”, the desire to live in the “bright kingdom” of love, joy and happiness.
The death of Katerina is the result of a collision of two historical eras. With her death, Katerina protests against despotism and tyranny, her death indicates the approaching end of the “dark kingdom.” The image of Katerina belongs to the best images Russian fiction. Katerina - new type people of Russian reality in the 60s of the 19th century.
A. N. Ostrovsky is a playwright whose name is associated with the emergence of a truly Russian national theater, author of numerous, genre-diverse plays. In the artistically true images of his comedies, dramas, scenes from life, and historical chronicles, we see representatives of various classes, people of various professions, origins, and upbringing.
The life, customs, and characters of the townspeople, nobles, officials, merchants - from “very important gentlemen”, rich bar and businessmen to the most insignificant and poor - are reflected in his work with amazing breadth. The plays were written not by an indifferent writer of everyday life, but by an angry denouncer of the world of the “dark kingdom”, where for the sake of profit a person is capable of anything, where the elders rule over the younger, the rich over the poor, where state power, the church and society in every possible way support the centuries-old cruel morals. Ostrovsky’s play “The Thunderstorm” is about this, which is rightfully considered one of the masterpieces of Russian realistic drama and which the author himself assessed as a great creative success.
“The Thunderstorm” depicts not only the deadening conditions of the dark kingdom, but also manifestations of deep hatred towards them. The satirical denunciation in the play naturally merged with the affirmation of new forces growing in life - positive, bright, rising to fight for their human rights. Feelings of discontent and spontaneous indignation were expressed in the play in the decisive protest of Katerina Kabanova. The bright human element in Katerina is as natural as breathing. This is her nature, which is expressed not so much in reasoning, but in spiritual subtlety, the strength of experiences, in her attitude towards people, in all her behavior. The confrontation intensifies and worsens in Katerina’s soul: dark prejudice and poetic insight, selfless courage and despair, reckless love and unyielding conscience painfully collide.
In the image of Katerina, Ostrovsky painted a new type of Russian woman - original, selfless, with the decisiveness of her protest foreshadowing the onset of the end of the “dark kingdom.” Katerina personifies the moral purity, spiritual beauty of a Russian woman, her desire for freedom, her ability not only to endure, but also to defend her rights, her human dignity. An integral, strong nature, Katerina endures only for the time being. To Varvara’s words: “Where will you go? You are a husband’s wife.” Katerina replies: “Eh, Varya, you don’t know my character! Of course, God forbid this happens! And if I get really tired of it here, they won’t hold me back by any force. I’ll throw myself out the window, throw myself into the Volga. I don’t want to live here, I won’t, even if you cut me!” Katerina has an open character, strong and freedom-loving. She is characterized by courage and directness: “I don’t know how to deceive; I can’t hide anything,” she answers Varvara, who says that you can’t live in their house without deception.
In her mental attitude, Katerina is a “free bird.” “...Why don’t people fly? - she turns to Varvara. “You know, sometimes I feel like I’m a bird.” Therefore, for Katerina, the awakened feeling merges with longing for will, with the dream of a real, human life. She loves differently than the timid victims of the “dark kingdom.” Katerina surrenders to love to the end, demanding nothing in return and not wanting to hide anything. To Boris’s words: “No one will know about our love...” Katerina replies: “Let everyone know, let everyone see what I do!” And in the name of this free love that knows no boundaries, she enters into an unequal battle with the forces of the “dark kingdom” and dies.
Who is to blame for her death? What is Katerina’s suicide - her moral victory over the “dark kingdom”, where rudeness, violence, ignorance and indifference to others reign, or a tragic defeat? It is difficult to give a definite answer to this question. Too many reasons led to this ending. The playwright sees the tragedy of Katerina’s situation in the fact that she comes into conflict not only with Kalinov’s family morals, but also with herself. The straightforwardness of Ostrovsky's heroine is one of the sources of her tragedy. Katerina is pure in soul - lies and debauchery are alien and disgusting to her. She understands that by falling in love with Boris, she violated the moral law. “Oh, Varya,” she complains, “sin is on my mind! How much I, poor thing, cried, no matter what I did to myself! I can't escape this sin. Can't go anywhere. After all, this is not good, this is a terrible sin, Varenka, why do I love someone else? »
If not with her mind, then with her heart, Katerina felt the inevitable correctness of other laws - freedom, love, humanity. These laws are cruelly violated, not by the heroine, but in relation to her: she was given in marriage to an unloved man, her husband betrays her for the sake of drunken revelry, her mother-in-law relentlessly tyrannizes her, she is forced to live in captivity. Throughout the entire play there is a painful struggle in Katerina’s consciousness between the understanding of her wrongness, her sinfulness and the vague, but increasingly powerful feeling of her right to human life. But the play ends with Katerina’s moral victory over the dark forces that torment her. She atones for her guilt immensely, and escapes from captivity and humiliation through the only path that was open to her. Committing suicide, committing, from the point of view of the church, a terrible sin, Katerina thinks not about the salvation of her soul, but about the love that was revealed to her: “My friend! My joy! Goodbye!" Her decision to die, rather than remain a slave, expresses, according to Dobrolyubov, “the need of the emerging movement of Russian life.” And this decision comes to Katerina along with internal self-justification. The fear in her heart disappears and she feels ready to stand before a moral tribunal. After all, people say: “Death due to sins is terrible.”
If Katerina is not afraid, it means that her sins have been atoned for. She dies because she considers death the only worthy outcome, the only opportunity to preserve that highest thing that lived in her. The idea that Katerina’s death is in fact a moral victory, a triumph of the real Russian soul over the forces of the “dark kingdom” of the Dikikhs and Kabanovs, is also strengthened by the reaction to her death of the other characters in the play. For example, Tikhon, Katerina’s husband, for the first time in his life expressed his own opinion, entering (even if only for a moment) into the fight against the “dark kingdom.” “You ruined her, you, you...” he exclaims, turning to his mother, before whom he trembled all his life. For the first time he decides to protest against the stifling foundations of his family:
* “Good for you, Katya! Why did I stay in the world and suffer!”
Thus, the storm, the approach of which was felt throughout the entire play, broke out in the finale. And this thunderstorm is not just a natural phenomenon, it is a shock to all existing foundations, a symbol of freedom. This gave the critic Dobrolyubov a reason to call Katerina a “Russian, strong character,” a national “light ray in a dark kingdom,” meaning the effective expression in the heroine of direct protest and the liberation aspirations of the masses. Pointing out the deep typicality of this image, its national significance, the critic wrote that the image of Katerina represents “an artistic combination of folk traits manifested in different positions Russian life, but serving as an expression of one idea." In his opinion, Katerina reflected in her feelings and actions the spontaneous protest of the broad masses against the hated, constraining conditions of the dark kingdom.
The integrity and decisiveness of Katerina’s character, her “Russian living nature” was expressed in the fact that she refused to obey the rules of Kabanikha’s house with its “violent, deadening principles” and preferred death to life in captivity. She, according to Dobrolyubov, “doesn’t want to put up with it, doesn’t want to take advantage of the miserable vegetation that they give her in exchange for her living soul..." And this decision of Katerina was not a manifestation of weakness, but of spiritual strength and courage.
Katerina is an outwardly fragile, tender and open-to-feeling young woman, not at all as defenseless as she seems at first glance. She is strong inside, she is a fighter against this." dark kingdom" Katerina is a girl who is able to stand up for herself, who is capable of much for the sake of her love. But she is alone in this world, and it’s hard for her, so she is looking for support. It seems to her that she finds support in Boris. And she strives for him in every possible way, no matter what. She chose him because Boris stood out from all the young people in this city, and they both had a similar situation. But in the finale, Boris abandons her, and she is left alone against the “dark kingdom.” To accept and return to Kabanikha’s house meant not to be herself. Suicide is the only way out. Katerina passes away because she does not accept this world - the world of Kabanikha, Dikiy, Tikhon and Boris. Kabanikha is a completely different person, she is the opposite of Katerina.
She is completely satisfied with the world in which she lives. No one ever dared to contradict her, but then Katerina appears, unwilling to put up with Kabanikha’s rudeness, rudeness and cruelty. And therefore Katerina, with her self-esteem, constantly irritates Kabanikha. A conflict is brewing between Katerina and Kabanikha. This conflict does not explode until there are reasons for it. And the reason is Katerina’s confession of cheating on her husband. And Katerina understands that after this her life is over, because Kabanikha will then completely bully her. And she decides to commit suicide. After the death of Katerina, Kabanikha remains satisfied, because now no one will resist her. Katerina’s death is a kind of protest against this world, a world of lies and hypocrisy, to which she could never get used to.
But Katerina and Kabanikha have something in common, because they are both capable of standing up for themselves, both do not want to put up with humiliation and insult, both strong character. But their reluctance to be humiliated and insulted manifests itself in different ways. Katerina will never respond to rudeness with rudeness. Kabanikha, on the contrary, will try in every possible way to humiliate, offend, and bully a person who says something unpleasant in her direction.
Katerina and Kabanikha have different attitudes towards God. If Katerina’s feeling for God is something bright, holy, inviolable and highest, then for Kabanikha it is only an external, superficial feeling. Even going to church for Kabanikha is only to make the impression of a pious lady on those around her.
The most suitable comparison between Katerina and Kabanikha is something light and something dark, where Katerina is light and Kabanikha is dark. Katerina is a ray of light in the “dark kingdom”. But this “ray” is not enough to illuminate this darkness that in the end it fades out altogether.
The hero's mental flabbiness and the heroine's moral generosity are most obvious in the scene of their last date. Katerina’s hopes are in vain: “If only I could live with him, maybe I would see some kind of joy.” “If only”, “maybe”, “some kind”... Little consolation! But even here she finds the strength to think not about herself. This is Katerina asking her beloved for forgiveness for the troubles she has caused him. Boris couldn’t even imagine such a thing. He won’t really be able to save or even feel sorry for Katerina: “Who knew that we should suffer so much with you for our love! It would be better for me to run then!” But didn’t she remind Boris of the price to pay for loving married woman folk song performed by Kudryash, didn’t Kudryash warn him about the same thing: “Eh, Boris Grigoryich, stop annoying me! Isn’t that what you told Boris? Alas, the hero simply did not hear any of this.
Dobrolyubov soulfully saw an epoch-making meaning in the “Thunderstorm” conflict, and in the character of Katerina - “a new phase of our folk life" But, idealizing free love in the spirit of the then popular ideas of female emancipation, he impoverished the moral depth of Katerina’s character. Dobrolyubov considered the hesitation of the heroine, who fell in love with Boris, and the burning of her conscience, “the ignorance of a poor woman who has not received a theoretical education.” Duty, loyalty, conscientiousness, with the maximalism characteristic of revolutionary democracy, were declared “prejudices”, “artificial combinations”, “conventional instructions of the old morality”, “old rags”. It turned out that Dobrolyubov looked at Katerina’s love with the same un-Russian ease as Boris.
Explaining the reasons for the heroine’s nationwide repentance, we will not repeat, following Dobrolyubov’s words, about “superstition,” “ignorance,” and “religious prejudices.” We will not see cowardice and fear of external punishment in Katerina’s “fear”. After all, such a look turns the heroine into a victim of the dark kingdom of the Boars. The true source of the heroine’s repentance lies elsewhere: in her sensitive conscience. “It’s not so scary that it will kill you, but that death will suddenly find you as you are, with all your sins, with all your evil thoughts. I’m not afraid to die, but when I think that I’ll suddenly appear before God as I am here with you, after this conversation, that’s what’s scary.” “My heart really hurts,” says Katerina in a moment of confession. “Whoever has fear, there is also God,” echoes her folk wisdom. From time immemorial, “fear” was understood by the Russian people as a heightened moral self-awareness.
IN " Explanatory dictionary V. I. Dahl “fear” is interpreted as “consciousness of moral responsibility.” This definition corresponds state of mind heroines. Unlike Kabanikha, Feklushi and other heroes of “The Thunderstorm,” Katerina’s “fear” is the inner voice of her conscience. Katerina perceives the thunderstorm as the chosen one: what is happening in her soul is akin to what is happening in the stormy skies. This is not slavery, this is equality. Katerina is equally heroic both in her passionate and reckless love affair and in her deeply conscientious public repentance. “What a conscience!.. What a mighty Slavic conscience!.. What moral strength... What huge, sublime aspirations, full of power and beauty,” wrote V. M. Doroshevich about Katerina Strepetova in the scene of repentance. And S.V. Maksimov told how he happened to sit next to Ostrovsky during the first performance of “The Thunderstorm” with Nikulina-Kositskaya in the role of Katerina. Ostrovsky watched the drama in silence, absorbed in himself. But in that “pathetic scene when Katerina, tormented by remorse, throws herself at the feet of her husband and mother-in-law, repenting of her sin, Ostrovsky, all pale, whispered: “It’s not me, not me: it’s God!” Ostrovsky, obviously, did not believe that he could write such an amazing scene.” It’s time for us to appreciate not only the love, but also the repentant impulse of Katerina. Having gone through the stormy trials, the heroine is morally cleansed and leaves this sinful world with the consciousness of her rightness: “He who loves will pray.”
“Death due to sins is terrible,” people say. And if Katerina is not afraid of death, then her sins have been atoned for. Her departure takes us back to the beginning of the tragedy. Death is sanctified by the same full-blooded and life-loving religiosity that has entered the heroine’s soul since childhood. “There is a grave under the tree... The sun warms it... birds will fly to the tree, they will sing, they will bring out the children...”
Katerina dies amazingly. Her death is the last flash of spiritualized love for God's world: trees, birds, flowers and herbs. Monologue about the grave - awakened metaphors, folk mythology with her belief in immortality. A person, dying, turns into a tree growing on a grave, or into a bird making a nest in its branches, or into a flower that gives a smile to passers-by - these are the constant motives folk songs about death. When leaving, Katerina retains all the signs that, according to popular belief, distinguished the saint: she is dead as if she were alive. “And exactly, guys, like alive! There’s only a small wound on the temple, and there’s only one drop of blood.”
Katerina - a ray of light in a dark kingdom - essay.
Plan
1. Drama by A. Ostrovsky "". The relevance of the conflict.
2. Katerina Kabanova - the main character of the play:
A) relationship with Kabanikha;
b) relations with Tikhon;
C) relationship with Boris.
3. “Why don’t people fly…”
In his play "The Thunderstorm" he presented social drama XIX century using the example of the Kabanov family. The author offers the reader an acute conflict between two “worlds”. Old world represented by the harsh foundations of the Kabanov house. Its inhabitants were raised by Domostroy. A new world- pure and honest Katerina, who could not come to terms with the “Kabanovsky” rules. The drama of A.N. Ostrovsky withstood a lot of criticism and criticism. But she radically changed the attitude of literature to dramatic work.
One of the critics of that time, Nikolai Dobrolyubov, wrote an article based on the play “The Thunderstorm”, “A Ray of Light in the Dark Kingdom.” In it, he describes Katerina’s character and calls her a “ray of light” fighting “dark forces.” Katerina is an honest girl. She is modest, pure and religious. In the “dark kingdom” of the Kabanovs, she feels stuffy. Everything in this house rests on a lie, Kabanikha herself speaks about this.
The mother-in-law pesters Katerina and does not allow her passage. She teaches her how to behave in her husband's house. Kabanova is a very powerful woman. Everyone in the house obeys her - husband, son, daughter, and daughter-in-law. She keeps everything that happens in the family under control. Tyranny is hers main feature. Katerina does not contradict her mother-in-law, she lives in obedience, but Kabanikha constantly offends her. Tikhon also lives under oppression. He leaves home with pleasure, just so as not to see or hear his own mother.
Tikhon leaves Katerina alone, not thinking about what it will be like for her in the house of her tyrant mother-in-law. Silent, obedient, indifferent Tikhon does not save his wife from her mother’s rudeness. This leads Katerina to complete lack of faith in family life.
Boris is Katerina's only hope. He is different from other residents of Kalinin. But he is also dependent on the Kabanovs’ relative, Dikiy. Wealth and condition attract him more. Experiencing sincere feelings of love, Katerina spends time with Boris in the absence of her husband. She's almost happy. But hopes were not justified - Boris leaves and does not invite Katerina with him. What should a poor girl do when there is no support or support nearby? None soul mate? Katerina decides to take a very serious step - suicide. Did she have another way out of this situation? After Katerina confesses her sin to her husband and Kabanikha, life becomes unbearable. More and more aware of her grave “misconduct,” Katerina chooses “not life,” life in captivity. It would seem that the heroine’s religiosity does not allow her to do just that. But what is the greatest sin? Life in a stuffy, unfair world or is it death?
The death of Katerina is a challenge to the “dark kingdom”, which is unable to give a person love and hope. A challenge to a world that cannot dream. The heroine’s monologue “Why don’t people fly like birds?..” reveals her soul. Katerina dreams of being free. She happily remembers her years before marriage. And there - in that girlish world - she felt good. In the Kabanovs' house, the girl dies. She does not put up with rudeness and dishonesty, she does not become Kabanova. She finds peace in church. She remains “a ray of light in a dark kingdom.” Katerina's death is a victory over the dark forces that could not break a pure soul.
Death main character Ostrovsky’s play “The Thunderstorm” ends, the genre of which could easily be described as tragedy. The death of Katerina in “The Thunderstorm” is the denouement of the work and carries a special meaning. The scene of Katerina’s suicide gave rise to many questions and interpretations of this plot twist. For example, Dobrolyubov considered this act noble, and Pisarev was of the opinion that such an outcome was “completely unexpected for her (Katerina) herself.” Dostoevsky believed that Katerina’s death in the play “The Thunderstorm” would have occurred without despotism: “this is a victim of her own purity and her beliefs.” It is easy to see that the opinions of critics differ, but at the same time each is partly true. What made the girl make such a decision, commit the table desperate step? What does the death of Katerina, the heroine of the play “The Thunderstorm” mean?
In order to answer this question, you need to study the text of the work in detail. The reader meets Katerina already in the first act. Initially, we observe Katya as a mute witness to the quarrel between Kabanikha and Tikhon. This episode allows us to understand the unhealthy environment of lack of freedom and oppression in which Katya has to survive. Every day she is convinced that her old life, the same as it was before marriage, will never be again. All power in the house, despite the patriarchal way of life, is concentrated in the hands of the hypocritical Marfa Ignatievna. Katya's husband, Tikhon, is unable to protect his wife from hysterics and lies. His weak-willed submission to his mother shows Katerina that in this house and in this family one cannot count on help.
Since childhood, Katya was taught to love life: go to church, sing, admire nature, dream. The girl “breathed deeply,” feeling safe. She was taught to live by the rules of Domostroy: respect the word of her elders, do not contradict them, obey her husband and love him. And now Katerina is married off, the situation changes radically. There is a huge, insurmountable gap between expectations and reality. Kabanikha’s tyranny knows no bounds; her limited understanding of Christian laws terrifies the believing Katerina. What about Tikhon? He is not at all a man who is worthy of respect or even compassion. Katya feels only pity for Tikhon, who drinks often. The girl admits that no matter how hard she tries to love her husband, nothing works.
A girl cannot realize herself in any area: neither as a housewife, nor as a loving wife, not like a caring mother. The girl regards Boris's appearance as a chance for salvation. Firstly, Boris is unlike the other residents of Kalinov, and he, like Katya, does not like the unwritten laws of the dark kingdom. Secondly, Katya was visited by thoughts of getting a divorce and after that living with Boris honestly, without fear of condemnation from society or the church. Relations with Boris are developing rapidly. One meeting was enough for two young people to fall in love with each other. Even without the opportunity to talk, Boris dreams of Katya. The girl is very worried about the feelings that have arisen: she was brought up differently, Katya cannot walk with someone else secretly; purity and honesty “prevent” Katya from hiding her love, pretending that everything is “kept under cover” and others don’t realize.
For a very long time the girl decided to go on a date with Boris, and yet she went to the garden at night. The author does not describe the ten days when Katerina saw her lover. This, in fact, is not necessary. It is easy to imagine their leisure time and the growing feeling of warmth that was in Katerina. Boris himself said “he only lived for those ten days.” The arrival of Tikhon Kabanov revealed new sides to the characters. It turned out that Boris does not want publicity at all; he would rather abandon Katya than involve himself in intrigues and scandals. Katya, unlike young man, wants to tell both her husband and mother-in-law about the current situation. Being a somewhat suspicious and impressionable person, Katya, driven by the thunder and the words of the crazy lady, confesses everything to Kabanov.
The scene ends. Next we learn that Marfa Ignatievna has become even tougher and more demanding. She humiliates and insults the girl much more than before. Katya understands that she is not as guilty as her mother-in-law wants to convince her, because Kabanikha needs such tyranny only for self-affirmation and control. It is the mother-in-law who becomes the main catalyst for the tragedy. Tikhon would most likely forgive Katya, but he can only obey his mother and go drink with Dikiy.
Imagine yourself in the heroine's place. Imagine all the things she had to deal with every day. The way the attitude towards her changed after the confession. A husband who cannot contradict his mother, but at every opportunity finds solace in alcohol. Mother-in-law, personifying all that dirt and abomination from which the pure and honest man wants to stay as far away as possible. Your husband’s sister, the only one who is interested in your life, but at the same time cannot fully understand. And a loved one for whom public opinion and the possibility of receiving an inheritance turned out to be much more important than feelings for the girl.
Katya dreamed of becoming a bird, of flying away forever dark world tyranny and hypocrisy, break free, fly, be free. Katerina's death was inevitable.
However, as stated above, there are several different points of view on Katerina’s suicide. After all, on the other hand, couldn’t Katya just run away without making such desperate decisions? That's the point, she couldn't. This was not for her. To be honest with yourself, to be free - this is what the girl so passionately desired. Unfortunately, all this could only be obtained at the price own life. Is Katerina’s death a defeat or a victory over the “dark kingdom”? Katerina did not win, but she did not remain defeated either.
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